Artificial intelligence (AI) technologies are used in various domains of human activities, and one of these domains is scientific research. Now, researchers in many scientific areas try to apply AI technologies to their research and automate it. These researchers claim that the ‘automation of science’ will liberate people from non-creative tasks in scientific research, and radically change the overall state of science and technology so that large-scale innovation results. As I see it, the automation of science is remarkable in (...) another respect: since science is one of the most distinctive human activities, the tendency of automating it prompts us to reconsider the aspects of our humanity itself. One of these aspects is concerned with human creativity, on which this article focuses. In this article, I address two questions concerning the automation of science: first, ‘Can AI makes creative discovery?’; second, ‘What implications may the automation of science have on science and society?’. Scientific discovery is said to be one of the most creative phases of scientific research. I show that, though there are no reasons in principle why AI could not make creative discovery, we do not at present have enough knowledge how to realize it. If the automation of science nevertheless proceeds, the cultural values science as a creative activity has might be reduced, and it might alter the state of scientific community and its relationship with society in some undesirable way. Therefore, I conclude, we need to specify desirable ways of introducing AI technologies into science and devise measures against demerits of automating science. (shrink)

The tendency to idealise artificial intelligence as independent from human manipulators, combined with the growing ontological entanglement of humans and digital machines, has created an “anthrobotic” horizon, in which data analytics, statistics and probabilities throw our agential power into question. How can we avoid the consequences of a reified definition of intelligence as universal operation becoming imposed upon our destinies? It is here argued that the fantasised autonomy of automated intelligence presents a contradistinctive opportunity for philosophical consciousness to understand (...) itself anew as holistic and co-creative, beyond the recent “analytic” moment of the history of philosophy. Here we introduce the concept of “crealectic intelligence”, a meta-analytic and meta-dialectic aspect of consciousness. Intelligent behaviour may consist in distinguishing discrete familiar parts or reproducible functions in the midst of noise via an analytic process of segmentation; intelligence may also manifest itself in the constitution of larger wholes and dynamic unities through a dialectic process of association or assemblage. But, by contrast, crealectic intelligence co-creates realities in the image of an ideal or truth, taking into account the desiring agent imbued with a sense of possibility, in a relationship not only with the Real but also with the creative sublime or “Creal”. (shrink)

What is the essential ingredient of creativity that only humans – and not machines – possess? Can artificial intelligence help refine the notion of creativity by reference to that essential ingredient? How / do we need to redefine our conceptual and legal frameworks for rewarding creativity because of this new qualifying – actually creatively significant – factor? -/- Those are the questions tackled in this essay. The author’s conclusion is that consciousness, experiential states (such as a (...) raw feel of what is like to be creating) and propositional attitudes (such as intention to instigate change by creating) appear pivotal to qualifying an exploratory effort as creativity. Artificial intelligence systems would supposedly be capable of creativity if they could exhibit such states, which philosophers and computer scientists posit as conceptually admissible and practically possible. -/- The existing legal framework rewards creative endeavours by reference to the novelty or originality of the end result. But this bar is not insurmountable for artificial intelligence. Technically speaking, artificial intelligence systems can create works that are novel and/or original. Are we then prepared to grant to those systems the legal status of “creators” in their own right? Whom should the associated benefits and rewards be assigned to? How does the position change (or not) based on the qualifying factors set out above? Should – and if, how – the general public benefit from inventions / creative works of artificial intelligence systems if troves of personal data are the key component that fueled and informed creative choices? (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI (...) into artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program (...) really be creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Comparatively easy questions we might ask about creativity are distinguished from the hard question of explaining transformative creativity. Many have focused on the easy questions, offering no reason to think that the imagining relied upon in creative cognition cannot be reduced to more basic folk psychological states. The relevance of associative thought processes to songwriting is then explored as a means for understanding the nature of transformative creativity. Productive artificial neural networks—known as generative antagonistic networks (GANs)—are (...) a recent example of how a system’s ability to generate novel products can both be finely tuned by prior experience and grounded in strategies that cannot be articulated by the system itself. Further, the kinds of processes exploited by GANs need not be seen as incorporating something akin to sui generis imaginative states. The chapter concludes with reflection on the added relevance of personal character to explanations of creativity. [This is Chapter 12 of the book Explaining Imagination.]. (shrink)

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

Can matter, things, nonhuman organisms, technologies, tools and machines, biota or institutions be seen as creative? How does such creativity reposition the visionary activities of humans? This article is an elaboration of such questions as well as an attempt at a partial response. It was written as an editorial for the special issue of the Digital Creativity journal that interrogates the conception of Post-Anthropocentric Creativity. However, the text below is a rather unconventional editorial. It does not attempt (...) to provide an overview of the issue’s theme but, instead, samples it via a particular example. The idea of the issue was to think about post-anthropocentricism by considering (1) agents, recipients and processes of creativity alongside with its (2) purpose, value, ethics and politics. This article addresses the first subtheme by puzzling at the paradoxes of “field learning” and picks at the second by considering the texture of “automated beauty”. Both of these parts use chess for an example. The narrative on chess is intermitted by a section “on creativity” that attempts to contextualize the case-based discussion in the wider context and to consider motivations and implications. (shrink)

Today, humanity is trying to turn the artificial intelligence that it produces into natural intelligence. Although this effort is technologically exciting, it often raises ethical concerns. Therefore, the intellectual ability of artificial intelligence will always bring new questions. Although there have been significant developments in the consciousness of artificial intelligence, the issue of consciousness must be fully explained in order to complete this development. When consciousness is fully understood by human beings, the subject of “free will” will (...) be explained. Therefore, human consciousness should be re-examined and perceptions that we are not aware of from a philosophical point of view should be examined. The relevance of the perceptions we do not realize to the unconscious, and finally the impact on consciousness goes back to the sources of philosophy. Hegel, in particular, we may find information about these perceptions unusual. Consciousness cannot be separated from the unconscious. Consciousness should be rethought in the context of memory models and unconscious in this sense. Seeing how Hegel's human cognition acts, especially in Hegel's perception, raises the unconscious question again. If we expect something different from an artificial intelligence, we need to rethink the artificial cognitive model. This paper argues that without the unconscious component of artificial intelligence, it cannot approach human cognition. -/- Key Words: Artificial Intelligence, Creativity, Memory, perception . (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

This book is a collection of all the papers published in the special issue “Artificial Intelligence, Robots, and Philosophy,” Journal of Philosophy of Life, Vol.13, No.1, 2023, pp.1-146. The authors discuss a variety of topics such as science fiction and space ethics, the philosophy of artificial intelligence, the ethics of autonomous agents, and virtuous robots. Through their discussions, readers are able to think deeply about the essence of modern technology and the future of humanity. All papers were invited (...) and completed in spring 2020, though because of the Covid-19 pandemic and other problems, the publication was delayed until this year. I apologize to the authors and potential readers for the delay. I hope that readers will enjoy these arguments on digital technology and its relationship with philosophy. *** -/- Contents*** -/- Introduction : Descartes and Artificial Intelligence; Masahiro Morioka*** -/- Isaac Asimov and the Current State of Space Science Fiction : In the Light of Space Ethics; Shin-ichiro Inaba*** -/- Artificial Intelligence and Contemporary Philosophy : Heidegger, Jonas, and Slime Mold; Masahiro Morioka*** -/- Implications of Automating Science : The Possibility of Artificial Creativity and the Future of Science; Makoto Kureha*** -/- Why Autonomous Agents Should Not Be Built for War; István Zoltán Zárdai*** -/- Wheat and Pepper : Interactions Between Technology and Humans; Minao Kukita*** -/- Clockwork Courage : A Defense of Virtuous Robots; Shimpei Okamoto*** -/- Reconstructing Agency from Choice; Yuko Murakami*** -/- Gushing Prose : Will Machines Ever be Able to Translate as Badly as Humans?; Rossa Ó Muireartaigh***. (shrink)

Human creativity generates novel ideas to solve real-world problems. This thereby grants us the power to transform the surrounding world and extend our human attributes beyond what is currently possible. Creative ideas are not just new and unexpected, but are also successful in providing solutions that are useful, efficient and valuable. Thus, creativity optimizes the use of available resources and increases wealth. The origin of human creativity, however, is poorly understood, and semantic measures that could predict the (...) success of generated ideas are currently unknown. Here, we analyze a dataset of design problem-solving conversations in real-world settings by using 49 semantic measures based on WordNet 3.1 and demonstrate that a divergence of semantic similarity, an increased information content, and a decreased polysemy predict the success of generated ideas. The first feedback from clients also enhances information content and leads to a divergence of successful ideas in creative problem solving. These results advance cognitive science by identifying real-world processes in human problem solving that are relevant to the success of produced solutions and provide tools for real-time monitoring of problem solving, student training and skill acquisition. A selected subset of information content (IC Sánchez–Batet) and semantic similarity (Lin/Sánchez–Batet) measures, which are both statistically powerful and computationally fast, could support the development of technologies for computer-assisted enhancements of human creativity or for the implementation of creativity in machines endowed with general artificial intelligence. (shrink)

The rapid advancement of Information Technology (IT) platforms and programming languages has transformed the dynamics and development of human society. The cyberspace and associated utilities are expanding, leading to a gradual shift from real-world living to virtual life (also known as cyberspace or digital space). The expansion and development of Natural Language Processing (NLP) models and Large Language Models (LLMs) demonstrate human-like characteristics in reasoning, perception, attention, and creativity, helping humans overcome operational barriers. Alongside the immense potential of (...) class='Hi'>artificial intelligence (AI) are new security loopholes and more complex information security risks. As society is still trying to transition to a new phase to adapt to technological changes, the AI revolution continues to unfold, necessitating a reconsideration of the trajectory of societal transformation as it could exacerbate the aforementioned information security risks. Specifically, how should society evolve to keep pace with the transformative impact of the current AI technology wave? How can we manage and harness their power while ensuring information security as our presence in the virtual world increases? This article aims to shed light on and address these questions. (shrink)

Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this (...) is neither original nor real art, but simply the complex imitation and reproduction of existing products of human culture. We face the old question concerning the nature of creativity: what kind of recombination of ideas, unusual analogies, and conceptual connections are considered the mark of originality? Can AI produce artworks? Could machines reach a point at which we consider them genuinely creative? We also need to investigate the challenges posed by AI-art to the notion of authoriality: Who is the author of an artificially generated artifact? An artificial system could be considered just an artist’s and a programmer’s tool. However, we are also fascinated by the idea of autonomous artificial creativity in the aesthetic domain, as a manifestation of highly intelligent behavior. This paper will try to define some key questions around what could it mean to consider a machine creative or even equipped with artistic intentionality. (shrink)

The rise of Artificial Intelligence (AI) has produced prophets and prophecies announcing that the age of artificial consciousness is near. Not only does the mere idea that any machine could ever possess the full potential of human consciousness suggest that AI could replace the role of God in the future, it also puts into question the fundamental human right to freedom and dignity. This position paper takes the stand that, in the light of all we currently know about (...) brain evolution and the never-stopping formation of adaptive neural circuitry for learning, memory, decision making and, ultimately, fully conscious reasoning and creativity in the human species, the idea of an artificial consciousness appears misconceived. The paper highlights some of the major reasons why. While awareness to external stimuli for processes such as perception, recognition, and operational problem solving is under the direct control of functionally specific brain networks associated with sensory and cognitive functions across animal species, consciousness is a unique property of the human mind. (shrink)

This book reports on the results of the third edition of the premier conference in the field of philosophy of artificial intelligence, PT-AI 2017, held on November 4 - 5, 2017 at the University of Leeds, UK. It covers: advanced knowledge on key AI concepts, including complexity, computation, creativity, embodiment, representation and superintelligence; cutting-edge ethical issues, such as the AI impact on human dignity and society, responsibilities and rights of machines, as well as AI threats to humanity and (...) AI safety; and cutting-edge developments in techniques to achieve AI, including machine learning, neural networks, dynamical systems. The book also discusses important applications of AI, including big data analytics, expert systems, cognitive architectures, and robotics. It offers a timely, yet very comprehensive snapshot of what is going on in the field of AI, especially at the interfaces between philosophy, cognitive science, ethics and computing. (shrink)

Artificial agents are commonly described by using words that traditionally belong to the semantic field of organisms, particularly of animal and human life. I call this phenomenon the game of semantic extension. However, the semantic extension of words as crucial as “autonomous”, “intelligent”, “creative”, “moral”, and so on, is often perceived as unsatisfactory, which is signalled with the extensive use of inverted commas or other syntactical cues. Such practice, in turn, has provoked harsh criticism that usually refers back to (...) the literal meaning of the words to show their inappropriateness in describing artificial agents. Hence the question: how can we choose our words appropriately and wisely while making sense of artificial agents? After a brief introduction (§1), in §2 I present the starting point of my argument, which consists in the assumption that the dimensions of technology and language are deeply entangled. In §3 I discuss how this assumption impinges on the issue of choosing the right words to talk about artificial agents. §4 is an exposition of the main features of the game of semantic extension, while §5 reviews the related opportunities and risks. Finally, §6 elaborates some practical suggestions on how to play the game well. (shrink)

In this paper we propose a computational framework aimed at extending the problem solving capabilities of cognitive artificial agents through the introduction of a novel, goal-directed, dynamic knowledge generation mechanism obtained via a non monotonic reasoning procedure. In particular, the proposed framework relies on the assumption that certain classes of problems cannot be solved by simply learning or injecting new external knowledge in the declarative memory of a cognitive artificial agent but, on the other hand, require a mechanism (...) for the automatic and creative re-framing, or re-formulation, of the available knowledge. We show how such mechanism can be obtained trough a framework of dynamic knowledge generation that is able to tackle the problem of commonsense concept combination. In addition, we show how such a framework can be employed in the field of cognitive architectures in order to overcome situations like the impasse in SOAR by extending the possible options of its subgoaling procedures. (shrink)

From 1950 onwards, the study of creativity has not stopped. Today, AI has revitalised debates on the subject. That is especially controversial in the artworld, as the 21st century already features AI-generated artworks. Without discussing issues about AI agency, this article argues for AI’s creativity. For this, we first present a new functionalist understanding of Margaret Boden’s definition of creativity. This is followed by an analysis of empirical evidence on anthropocentric barriers in the perception of AI’s creative (...) capabilities, which is later criticised for considering insights from media theory. Finally, benefits derived from including AI as an artistic creative producer and supportive tool are discussed. It is then argued that AI can contribute to democratising the artworld. Therefore its creative role must be recognised. (shrink)

Because of its non-representational nature, music has always had familiarity with computational and algorithmic methodologies for automatic composition and performance. Today, AI and computer technology are transforming systems of automatic music production from passive means within musical creative processes into ever more autonomous active collaborators of human musicians. This raises a large number of interrelated questions both about the theoretical problems of artificial musical creativity and about its ethical consequences. Considering two of the most urgent ethical problems of (...) Musical AI (music job replacement and machine musical authorship), we show in this essay the strict dependence of every form of acknowledgment of a moral and legal status to systems of automatic music production from the theoretical account of musical creativity by turns implicitly or explicitly adopted, arguing, on the basis of pragmatic reasons, for the necessity and the desirability of this acknowledgment. (shrink)

Dynamic conceptual reframing represents a crucial mechanism employed by humans, and partially by other animal species, to generate novel knowledge used to solve complex goals. In this talk, I will present a reasoning framework for knowledge invention and creative problem solving exploiting TCL: a non-monotonic extension of a Description Logic (DL) of typicality able to combine prototypical (commonsense) descriptions of concepts in a human-like fashion [1]. The proposed approach has been tested both in the task of goal-driven concept invention [2,3] (...) and has additionally applied within the context of serendipity-based recommendation systems [4]. I will present the obtained results, the lessons learned, and the road ahead of this research path. -/- . (shrink)

A review of Marcus du Sautoy's 2019 book, THE CREATIVITY CODE: Art and Innovation in the Age of AI, Cambridge, MA: Belknap (Harvard) Press, 2019. ISBN: 9780674988132.

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

This paper seeks to answer the question: Can contemporary forms of artificial intelligence be creative? To answer this question, I consider three conditions that are commonly taken to be necessary for creativity. These are novelty, value, and agency. I argue that while contemporary AI models may have a claim to novelty and value, they cannot satisfy the kind of agency condition required for creativity. From this discussion, a new condition for creativity emerges. Creativity requires curiosity, (...) a motivation to pursue epistemic goods. I argue that contemporary AI models do not satisfy this new condition. Because they lack both agency and curiosity, it is a mistake to attribute the same sort of creativity to AI that we prize in humans. Finally, I consider the question of whether these AI models stand to make human creativity in the arts and sciences obsolete, despite not being creative themselves. I argue, optimistically, that this is unlikely. (shrink)

Language, one of humanity’s major transformative innovations, is foundational for many cultural, artistic, scientific, and economic advancements, including the creation of artificial intelligence (AI). However, in the fight against climate change, the power of such innovation is constrained due to the boring language of climate science and science communication. In this essay, we encapsulated the situation and risks of boring language in communicating climate information to the public and countering climate denialism and disinformation. Based on the Serendipity-Mindsponge-3D knowledge management (...) framework, we recommend several strategies for climate scientists and science communicators to be more creative and make their communication more interesting, including collaboration with other cultural sectors (e.g., stand-up comedians, climate fiction, etc.) and AI. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that (...) AI image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

Chapter 3 of the ongoing publication "Artificial Aesthetics" Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how AI will affect your professional area in general and your work and career. Our (...) book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

Chapter 1 of the ongoing online publication "Artificial Aesthetics: A Critical Guide to AI, Media and Design", Lev Manovich and Emanuele Arielli -/- Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering (...) how AI will affect your professional area in general and your work and career. Our book offers intellectual tools to help us better see the future of creative fields. These tools come from philosophy of art, experimental psychology, media theory, digital culture studies and data science. The book is the first to combine these different perspectives together. -/- We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months. (shrink)

Humankind is currently confronted with a critical challenge that determines its very existence, not only on an individual, racial, or national level but as a whole species: the fight against climate change and environmental degradation. To win this battle, humanity needs innovations and non-linear thinking. Nature has long been a substantial information source for unthinkable discoveries that save human lives. The paper suggests that by understanding the nature, emergence, and mechanism of serendipity, the survival skill of humans, humanity can capitalize (...) on it to learn from nature and generate nature-based innovations that can address the climate and environmental degradation crises. In the era of Artificial Intelligence (AI) proliferation, AI will be a vital tool providing navigational and useful information to leverage the power of serendipity in climate and sustainability science. However, an eco-surplus culture that incorporates core values pertaining to nature and sees environmental sustainability as the conscience of the times needs to be built to direct and control the immense power of AI-leveraged serendipity. Insights applied in this paper are drawn from the book titled “A New Theory of Serendipity: Nature, Emergence and Mechanism”. (shrink)

The notion of computation has changed the world more than any previous expressions of knowledge. However, as know-how in its particular algorithmic embodiment, computation is closed to meaning. Therefore, computer-based data processing can only mimic life’s creative aspects, without being creative itself. AI’s current record of accomplishments shows that it automates tasks associated with intelligence, without being intelligent itself. Mistaking the abstract for the concrete has led to the religion of “everything is an output of computation”—even the humankind that conceived (...) the computer. The hypostatized role of computers explains the increased dependence on them. The convergence machine called deep learning is only the most recent form through which the deterministic theology of the machine claims more than what it actually is: extremely effective data processing. A proper understanding of complexity, as well as the need to distinguish between the reactive nature of the artificial and the anticipatory nature of the living are suggested as practical responses to the challenges posed by machine theology. (shrink)

The goal of Transhumanism is to change the human condition through radical enhancement of its positive traits and through AI (Artificial Intelligence). Among these traits the transhumanists highlight creativity. Here we first describe human creativity at more fundamental levels than those related to the arts and sciences when, for example, childhood is taken into account. We then admit that creativity is experienced on both its bright and dark sides. In a second moment we describe attempts to (...) improve creativity both at the bodily level and in the emulation of human behavior in AI. These developments are presented both as effective results in laboratories and as transhumanist proposals emerging from them. Third, we have introduced the work of some theologians and ethicists, who study such proposals through the lens of the "created co-creator" metaphor. Finally, we analyze these developments through a reflection on the nature of creativity. We identify three problems in the current ideas about enhancement: first, they are bound to Western standards of creativity; second, the tempo and mode of evolution (involving an extended childhood) are not taken into account; third, the enhancement of creativity develops both its healthy and the perverse side. Proponents of the created co-creator metaphor also have difficulties with the problems pointed out. Concerning AI, there is a promising perspective of approaching human creativity, but there are some intrinsic limits: Human emotions are ambiguous, contradictory and far from rational control; human creativity is iconoclastic, thus highlighting the importance of youth and new generations; we do not expect from AI beings to present the perverse side of creativity. Our conclusions are: First, procreation and the new generations are essential to human creativity; in the same way, the wheat does not grow without the chaff; and finally, that birth breaks with causal connections and allows us to act forgiving--at birth, God's creative act is re-enacted. (shrink)

Despite recent breakthroughs in the field of artificial intelligence (AI) – or more specifically machine learning (ML) algorithms for object recognition and natural language processing – it seems to be the majority view that current AI approaches are still no real match for natural intelligence (NI). More importantly, philosophers have collected a long catalogue of features which imply that NI works differently from current AI not only in a gradual sense, but in a more substantial way: NI is closely (...) related to consciousness, intentionality and experiential features like qualia (the subjective contents of mental states)1 and allows for understanding (e.g., taking insight into causal relationships instead of ‘blindly’ relying on correlations), as well as aesthetical and ethical judgement beyond what we can put into (explicit or data-induced implicit) rules to program machines with. Additionally, Psychologists find NI to range from unconscious psychological processes to focused information processing, and from embodied and implicit cognition to ‘true’ agency and creativity. NI thus seems to transcend any neurobiological functionalism by operating on ‘bits of meaning’ instead of information in the sense of data, quite unlike both the ‘good old fashioned’, symbolic AI of the past, as well as the current wave of deep neural network based, ‘sub-symbolic’ AI, which both share the idea of thinking as (only) information processing: In symbolic AI, the name explicitly references to its formal system based, i.e. essentially rule-based, nature, but also sub-symbolic AI is (implicitly) rule-based, only now via globally parametrized, nested functions. In the following I propose an alternative view of NI as information processing plus ‘bundle pushing’, discuss an example which illustrates how bundle pushing can cut information processing short,and suggest first ideas for scientific experiments in neuro-biology and information theory as further investigations. (shrink)

This volume celebrates the various facets of Alan Turing (1912–1954), the British mathematician and computing pioneer, widely considered as the father of computer science. It is aimed at the general reader, with additional notes and references for those who wish to explore the life and work of Turing more deeply. -/- The book is divided into eight parts, covering different aspects of Turing’s life and work. -/- Part I presents various biographical aspects of Turing, some from a personal point of (...) view. -/- Part II presents Turing’s universal machine (now known as a Turing machine), which provides a theoretical framework for reasoning about computation. His 1936 paper on this subject is widely seen as providing the starting point for the field of theoretical computer science. -/- Part III presents Turing’s working on codebreaking during World War II. While the War was a disastrous interlude for many, for Turing it provided a nationally important outlet for his creative genius. It is not an overstatement to say that without Turing, the War would probably have lasted longer, and may even have been lost by the Allies. The sensitive nature of Turning’s wartime work meant that much of this has been revealed only relatively recently. -/- Part IV presents Turing’s post-War work on computing, both at the National Physical Laboratory and at the University of Manchester. He made contributions to both hardware design, through the ACE computer at the NPL, and software, especially at Manchester. Part V covers Turing’s contribution to machine intelligence (now known as Artificial Intelligence or AI). Although Turing did not coin the term, he can be considered a founder of this field which is still active today, authoring a seminal paper in 1950. -/- Part VI covers morphogenesis, Turing’s last major scientific contribution, on the generation of seemingly random patterns in biology and on the mathematics behind such patterns. Interest in this area has increased rapidly in recent times in the field of bioinformatics, with Turing’s 1952 paper on this subject being frequently cited. -/- Part VII presents some of Turing’s mathematical influences and achievements. Turing was remarkably free of external influences, with few co-authors – Max Newman was an exception and acted as a mathematical mentor in both Cambridge and Manchester. -/- Part VIII considers Turing in a wider context, including his influence and legacy to science and in the public consciousness. -/- Reflecting Turing’s wide influence, the book includes contributions by authors from a wide variety of backgrounds. Contemporaries provide reminiscences, while there are perspectives by philosophers, mathematicians, computer scientists, historians of science, and museum curators. Some of the contributors gave presentations at Turing Centenary meetings in 2012 in Bletchley Park, King’s College Cambridge, and Oxford University, and several of the chapters in this volume are based on those presentations – some through transcription of the original talks, especially for Turing’s contemporaries, now aged in their 90s. Sadly, some contributors died before the publication of this book, hence its dedication to them. -/- For those interested in personal recollections, Chapters 2, 3, 11, 12, 16, 17, and 36 will be of interest. For philosophical aspects of Turing’s work, see Chapters 6, 7, 26–31, and 41. Mathematical perspectives can be found in Chapters 35 and 37–39. Historical perspectives can be found in Chapters 4, 8, 9, 10, 13–15, 18, 19, 21–25, 34, and 40. With respect to Turing’s body of work, the treatment in Parts II–VI is broadly chronological. We have attempted to be comprehensive with respect to all the important aspects of Turing’s achievements, and the book can be read cover to cover, or the chapters can be tackled individually if desired. There are cross-references between chapters where appropriate, and some chapters will inevitably overlap. -/- We hope that you enjoy this volume as part of your library and that you will dip into it whenever you wish to enter the multifaceted world of Alan Turing. (shrink)

En era de la inteligencia artificial (IA) no han sido pocos los que se han preguntado si una máquina puede crear arte. En este sentido, la investigadora cognitiva Margaret Boden (2011) ha definido un tipo especial de arte al relacionar los conceptos "creatividad" y "computación". Así, el arte generado por computador (computer-generated art) es “the artwork results from some computer program being left to run by itself, with minimal or zero interference from a human being” (p. 141). Uno de (...) los casos más populares de este tipo de arte es el cuadro Portrait of Edmond de Belamy (2018), ampliamente publicitado como la primera obra de arte de una IA en ser subastada en Christie’s (Still & d´Inverno, 2019). Que las máquinas creen arte no ha dejado indiferente al mundo artístico. En efecto, se ha tendido a criticar al CG-art porque carecería de la inspiración mística que tiene el arte humano. Como menciona Aaron Hertzmann (2018), científico principal de Adobe Research San Francisco, “it is as if only humans create art because only humans have ‘souls.’ Surely, there should be a more scientific explanation” (p. 1). Atendiendo a lo anterior, sostengo que el CG-art tiene un valor estético descifrable a través de dos aproximaciones, a saber, evaluación humana y maquinal (Arriagada, 2020). (shrink)

Human civilization is very clearly reaching a point of critical mass when it comes to technology and how it transforms culture and the economics that is therefore driven forward. The conversation around the practical aspects of generative artificial intelligence (Chat GPT, Q Star, Bard, Claude, Genesis, Firefly, and others) and their ethical implications is massively trending. The political conversations around it are slow to catch up but will soon take over once the general public feels their impact, which is (...) likely to happen in the next two to three years. -/- What is not being spoken of is the need for new economic models that can integrate the enormous and continuous shifts in trade that will occur, as we continue to implement more efficient manufacturing and logistics. Things like 3D printing in hub regions, the automation of transportation, augmented and virtual reality, and new creativity-based industries will all disrupt capital markets as well as social systems due to what we could call "meta-scarcity", which is to say, "the scarcity of scarcity"; In effect, we will lack the scarcity to maintain predictive power over the future. This is because when technology is capable of optimizing for creativity, people come up with new demands, and when new demands are supplied as quickly as they arise, no one is capable of knowing what kind of trends the market will take, yet it is necessary to try as public discussion could beneficially shape the economic landscape. (shrink)

Committing to contribute to promoting the 11th progressive cultural element – environmental-healing value – and building the eco-surplus culture for sustainable development, the AISDL Team (represented by Drs. Minh-Hoang Nguyen and Quan-Hoang Vuong) has collaborated with Discover Sustainability to launch “Environmental Sustainability Needs Humanities” Topical Collection. In contributing to the generation of knowledge that aids the social transitions toward an eco-surplus utopia, the Topical Collection welcomes various types of articles across disciplines, including Research, Reviews, Perspectives, Comments, Brief Communications, Case Studies, (...) Registered Reports, and Data Notes that are related but not limited to these issues: - Socio-cultural and economic issues that help mitigate and adapt to climate change and prevent biodiversity loss - Socio-cultural and economic issues that support the development and implementation of nature-based solutions and artificial technologies for achieving environmental sustainability - Factors that help restore the connection between nature and humans, such as science, art, literature, and lived experiences - The psychology towards climate change, biodiversity loss, social transition, and technological transformation - The roles of creativity, serendipity, and knowledge management in sustainability transformation - Sustainable financing mechanism for climate change mitigation and adaptation as well as biodiversity conservation - The roles of urban and rural humans in addressing climate change and biodiversity loss - Global agreement, national commitments, and local actions for addressing climate change and biodiversity loss. (shrink)

In his groundbreaking work, Abstraction and Empathy, Wilhelm Worringer delved into the intricacies of various abstract and figurative artworks, contending that they evoke distinct impulses in the human audience—specifically, the urges towards abstraction and empathy. This article asserts the presence of empirical evidence supporting the extension of Worringer’s concepts beyond the realm of art appreciation to the domain of art-making. Consequently, it posits that abstraction and empathy serve as foundational principles guiding the production of both abstract and figurative art. This (...) holds particular significance in the 21st century, where artificial intelligence (AI) assumes a creative role that was absent during Worringer’s initial formulation of his theory. Thus, this paper postulates that AI inherently harbors a predisposition for the generation of abstract art, owing to its non-living and inorganic origins and functioning. (shrink)

As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and (...) class='Hi'>creativity in natural and artificial agents. This latter set of theories in some cases addresses creative behavior in relation to visual art, music, and literature, in the frequently overlapping contexts of philosophy of mind, artificial intelligence, and cognitive science. However, research in these areas does not typically address problems in the philosophy of art as a central line of inquiry. Similarly, the philosophy of art does not typically address issues pertaining to artificial agents. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what would (...) the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

The concept of morality underpins the moral responsibility that not only depends on the outward practices (or ‘output,’ in the case of humanoid robots) of the agents but on the internal attitudes (‘input’) that rational and responsible intentioned beings generate. The primary question that has initiated the extensive debate, i.e., ‘Can humanoid robots be moral?’, stems from the normative outlook where morality includes human conscience and socio-linguistic background. This paper advances the thesis that the conceptions of morality and creativity (...) interplay with linguistic human beings instead of non-linguistic humanoid robots, as humanoid robots are indeed docile automata that cannot be responsible for their actions. To eradicate human ethics in order to make way for humanoid robot ethics highlights the moral actions and adequacy that hinges the myth of creative agency and self-dependency, which a humanoid robot can scarcely express. (shrink)

The concept of morality underpins the moral responsibility that not only depends on the outward practices (or ‘output’, in the case of humanoid robots) of the agents but on the internal attitudes (‘input’) that rational and responsible intentioned beings generate. The primary question that has initiated extensive debate, i.e. ‘Can humanoid robots be moral?’, stems from the normative outlook where morality includes human conscience and socio-linguistic background. This paper advances the thesis that the conceptions of morality and creativity interplay (...) with linguistic human beings instead of non-linguistic humanoid robots, as humanoid robots are indeed docile automata that cannot be responsible for their actions. To eradicate human ethics in order to make way for humanoid robot ethics highlights the moral actions and adequacy that hinges the myth of creative agency and self-dependency, which a humanoid robot can scarcely express. -/- . (shrink)

In Chapter 1 I discuss the basic problem which made me undertake the issue of human death. That problem was the dualism in the depiction of human nature which has not been fully overcome yet, the dualism which leads to the emergence of new difficulties in contemporary attempts at adequately solving the problem of human death. They include the separation of soul from the body in the moment of death, and the borderline between the moment of death and the moment (...) of resurrection. Chapter 2 is devoted to the presentation of a new anthropological perspective, of an anthropology build “from the bottom up”, that is “from foundations”, and taking into account man’s rooting in the biological environment, and thus also in the genetic heritage taken over from our pre-human ancestors. That anthropology brings new aspects into traditional anthropology by extending it to include new ways of explaining the genesis of the human body and spirit, and new depictions of man’s death. In Chapter 2 I will also present the concept of evolution proposed by P.T. de Chardin, which I appreciate for its comprehensive evolutionary perception of the world. This concept has provoked various responses, but it certainly provides a creative inspiration for further attempts at applying the idea of evolution to various issues. The general framework of the evolutionary model proposed by the French researcher turns out to be useful also when applied to the evolutionary understanding of human death. Chapter 3 contains a discussion of the principal premises of the evolutionary concept of human death taken from analyses carried out by T. Wojciechowski concerning the issue of time, space, and the structure of variable material beings. A being is variable because it has a temporal structure, and the changes that occur are the derivatives of that structure. The temporal structure may be seen as endless, in which a being, even though its existence had a beginning, will exist for ever. Material substance should not be seen statically, but in dynamic and evolutionary terms. In evolution, time becomes a driver of development, an element shaping and directing the evolution of the entire cosmos. Man’s substance has been made capable of two levels of being and acting: the spatial and temporal level, and the endless and immanent level. Together, they form the one essence of man. Thus, the human person is partially immersed in the material cosmos, and partially elevated above it. Chapter 4 presents the evolutionary approach to the moment of man’s death. The views of T. Wojciechowski will be presented in which the moment of death is seen as a moment of transformation and perfection of the structure of the essence of human existence. Furthermore, the issue of the relationship existing, according to T. Wojciechowski, between man’s death and resurrection will be discussed. Understood in evolutionary terms, the moment of death is the time when the structure of human existence is transformed. Death transfers man fully into eternity and enables his life on a higher level of existential being. The element of flesh is retained, but changes its nature. Such view of death allows it to be understood as the moment of resurrection and the culmination of the evolutionary process of life. Death is therefore an “invention” of the evolution and should be seen as a natural and positive phenomenon. At this point, I also propose a solution to the question about reconciliation between temporal and endless existence. In Chapter 5 I take up the issue of consequences flowing from the postulated understanding of human death. They have been pointed to by T. Wojciechowski, but need to be further developed and clarified. He believed two lines in man’s development need to be recognized: that of natural and that of supernatural evolution. Both have the same direction, while occurring on different planes. In each of these lines, death is a natural element of life, pre-planned and, so to say, “encoded” in the cosmic matter. Therefore, the treatment of biological death as the consequence of sin is not only contrary to the evolutionary understanding of life, but in addition artificially combines that which is natural with that which is supernatural. Man’s authentic experience of his own present is a condition of his achieving full existential perfection in the moment of this death. Full engagement in the present is, in a way, a harbinger of the future; thus, the life “here” and “there” may not be inherently inconsistent. In the light of the evolutionary concept, death is not a punishment, but the most positive experience of man’s life in that it enables him to achieve full existential perfection. Chapter 6 is devoted to a substantiation of the possibility of evolutionary transformation of the structure of human existence in the moment of death. An adequate cause needs to be identified which could substantiate that transformation and achievement of perfection. I believe an appropriate substantiation can be found in God’s creative act, interpreted in evolutionary terms. The process of evolution, with its subsequent stages, is only a necessary condition for that “transformation” and “elevation”. The sufficient condition is fulfilled by the continuous creative intervention of God. The concept of God’s creative activity in the moment of man’s death finds its continuation in Chapter 7, where I present a detailed analysis of God’s activity at the time of man’s death. The concept of God’s creative activity extended over the entire process of evolution makes it possible to consider the moment of death as the moment of man’s resurrection. The moment of death is thus a moment of creation in evolutionary terms. Thus, as long as man is related to temporal and spatial elements, his development, or creation, continues. Death is only the completion of the final stage of creation, which may be painful and evoke fear, but in fact should give hope, for it involves resurrection. I also propose that the creative act in the moment of man’s death-resurrection be considered a basic action of God, which explains the manner in which God’s activity is contained within the framework of the creative act, encompassing also the moment of death-resurrection. The final Chapter 8 describes a didactic model illustrating the concept proposed here. I use the analogy of white light dispersion effect in the prism, and compare the incident ray to the creative act, and the dispersed rays going through the prism to the line of man’s natural and supernatural evolution. This model also shows the difference in the perspectives from which the phenomenon of death is seen by God and by man. (shrink)

As automating technologies are increasingly integrated into workplaces, one concern is that many of the human workers who remain will be relegated to more dull and less positively impactful work. This paper considers two rival theories of meaningful work that might be used to evaluate particular implementations of automation. The first is achievementism, which says that work that culminates in achievements to workers’ credit is especially meaningful; the other is the practice view, which says that work that takes the form (...) of an open-ended practice is especially meaningful. Of the two, the practice view is the better tool for assessing the future of meaningful work, because achievementism is explanatorily inadequate in two ways. Moreover, the practice view can explain why the most meaningful forms of work cannot be automated. A procedure can only be automated as long as the steps are defined, whereas, in such work, which steps to take is indefinitely open to redefinition. This reveals the real threat to meaningful work to be a political-economic one. The relevant ethical questions there have to do with how much creative control workers retain in crafting their own jobs, when those jobs involve meaningful work in collaboration with machines; and how to liberate workers from jobs that do not involve meaningful work, which should be left to machines anyway. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing down the development of AI, as promoted by the technology industry, do not signify a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives where the power to decide for the majority (...) of humanity lies solely with the CEOs of AI companies, they are indicative of a relentless pursuit of economic interests. The technology industry has consistently downplayed criticism over the years. -/- While patterns of creative output can be replicated without a thorough understanding of underlying concepts, the editorial highlights the distinction between the current AI technology's reliance on extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. This performative process, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial's author, continually 'strives to extend itself towards the unknown.' -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

In recent years, there has been a huge increase in the number of bots online, varying from Web crawlers for search engines, to chatbots for online customer service, spambots on social media, and content-editing bots in online collaboration communities. The online world has turned into an ecosystem of bots. However, our knowledge of how these automated agents are interacting with each other is rather poor. Bots are predictable automatons that do not have the capacity for emotions, meaning-making, creativity, and (...) sociality and it is hence natural to expect interactions between bots to be relatively predictable and uneventful. In this article, we analyze the interactions between bots that edit articles on Wikipedia. We track the extent to which bots undid each other’s edits over the period 2001–2010, model how pairs of bots interact over time, and identify different types of interaction trajectories. We find that, although Wikipedia bots are intended to support the encyclopedia, they often undo each other’s edits and these sterile “fights” may sometimes continue for years. Unlike humans on Wikipedia, bots’ interactions tend to occur over longer periods of time and to be more reciprocated. Yet, just like humans, bots in different cultural environments may behave differently. Our research suggests that even relatively “dumb” bots may give rise to complex interactions, and this carries important implications for Artificial Intelligence research. Understanding what affects bot-bot interactions is crucial for managing social media well, providing adequate cyber-security, and designing well functioning autonomous vehicles. (shrink)

Modern fundamental science tends to avoid the principle of physical causality and realism, replacing it with heuristically postulated and separated mathematical constructions that impose their own rules before being adjusted to measurement results. While it is officially accepted as the single possible kind of rigorous knowledge, we argue that another, explicitly extended kind of science can provide the causally complete picture of reality avoiding the glaring gaps, growing problems and persisting stagnation of the artificially reduced knowledge paradigm. The logic of (...) science development and especially its current state call for the urgently needed transition to the extended, causally complete kind of knowledge and related sustainable progress at superior creativity levels of self-aware, reason-based society. (shrink)

Inventing novel knowledge to solve problems is a crucial, creative, mechanism employed by humans, to extend their range of action. In this paper, we present TCL (typicality-based compositional logic): a probabilistic, non monotonic extension of standard Description Logics of typicality, and will show how this framework is able to endow artificial systems of a human-like, commonsense based, concept composition procedure that allows its employment in a number of applications (ranging from computational creativity to goal-based reasoning to recommender systems (...) and affective computing). -/- The framework relies on 3 main ingredients: a non monotonic extension of standard Description Logics (allowing to reason on exceptions to inheritance in standard knowledge bases) a probabilistic extension coming from the field of logic programming (the DISPONTE semantics) a cognitive heuristics known ad HEAD-Modifier determining preference rules for the inheritance mechanisms of the novel concepts to be generated via commonsense rules. -/- We report the obtained results and the lessons learned of this research path in the context of model-based AI applications. -/- . (shrink)

What can the creation of artificial habitats to replace old-growth forests tell us about the process, value and future of design? This chapter takes a concrete and provocative example and uses it to rethink design as a gradual, ecological action. To illustrate this understanding, the chapter begins with a description of a proposal to provide artificial habitats for wild animals such as birds, bats and invertebrates. The controversial idea to replace rapidly disappearing old-growth trees with artificial structures (...) puts in doubt habitual assumptions about the clients, procedures and goals of design. This example is of relevance to all design because the need to provide artificial habitats to nonhumans will be increasingly common under the influence of such phenomena as global warming or urbanisation. … The invention of artificial structures in place of natural habitats is described in this chapter as an incitement that highlights the need for further research into values, participants and methods of design. This discussion concludes with a proposal for an attitude of modesty in the face of increasingly overwhelming volumes of information as well as in the presence of an even greater ignorance about the futures of nondeterministic, volatile and incompletely controllable natural systems. The dilemma of design in these conditions is in the tension between its remit to act and the uncertainty that inescapably underlies any creative endeavour. (shrink)

2020 is the year of the first pandemic lived through the Internet. More than half of the world population is now online and because of self-isolation, our moral and social lives unfold almost exclusively online. Two pressing questions arise in this context: how much can we rely on the Internet, as a set of technologies, and how much should we trust online platforms and applications? In order to answer these two questions, I develop an argument based on two fundamental assumptions: (...) the development stage of today’s Internet is a contingent and not a necessary one and technologies are never neutral. My argument is that today’s pandemic produced an acceleration of the change which started almost 30 years ago, one of online migration, datafication and algorithmization of day to day life, a change in which digital technologies take on the classic role of institutions, both formal and informal. My thesis is a descriptive one, although it has some normative implications: this take over is not just a translation, but a modification or mutation which demands a creative collective answer, although users don’t have direct power over it. When they play the role of institutions, these technologies are surrogates or simulacra. I offer the paradigmatic case of online education, an experiment we were forced into because of the pandemic, in order to show that the institutional matrix of education cannot be reproduced online, due to the limitations of the medium and of the applications, especially those concerning physical presence. In the end I will critically address the question of the role played by Artificial Intelligence in the pandemic, and then I will show that the open source ethics was more useful in approaching scientifically and technologically the problems generated by the epidemic. (shrink)